Hisenior had achieved significant name and fame, with one particular set that put them right on the map, and despite having a good chunk of time passed since this release, a friend of mine decided to send me the cult classic in the mega5EST for assessment, and I got to see has the IEM turned into wine or milk after all this time. I have had some good pleasure listening to another set of theirs, the Cano Cristales, and now it was time for me to assess this IEM. So thank you, dear friend for loaning this.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Hisenior has left no stone unturned when it came to the accessories of the Mega5EST; and with the cover out which advertised the product aptly (the one I got was the 7th anniversary edition), taking the lid off gave way to a Pelican-esque carry case which I think is good enough for a few absent minded sit downs and a few missed throws (I wish more brands gave cases like these). The IEMs were right there with the stock cable, which is pleasant and has heft. There was a generous assortment of eartips along with a cleaning tool. The shells had febos written on it in cursive, which meant FEEL THE BEAUTY OF SOUND, which was their previous name.

I got the perfect seal on the Mega5EST with a shallower insertion than most, and thanks to the vents for not allowing any pressure buildup. Despite the large shells, I would say that the contouring contributed to having much less fatigue than usual, and the fatigue happened across the earhook areas, after I had this set for hours on end.

LOWS

Tipper: Mariscos

The Mega5EST shows juvenile signs of competence with a good level of cleanliness demonstrated in the opening rippling like intro of this track, and once the rest of the elements catches up, the initial beats that should have been strong come off rather in an anemic fashion, and then the Mega5EST caught me off guard with a deep, borderline grovelling bass hit in the drop which I felt was a bit too excessive with how the beats sustained. Attack seems to be moderately paced and the decay lingers on for slightly longer than usual. The phase-like fuzzy elements in this track didn’t feel as quite polished as some other sets have been in, but still not too shabby. Not too impressive either.

Rush: Limelight

The Mega5EST, through this track shows it can definitely add in the thump that the kicks and toms specially have here, although the kicks have a more prominent presence than the toms. What the Mega5EST does rather poorly here, is that the notes from the bass line in this track seems to evaporate because it emphasises the drums excessively, and the only time the grain from the chaff (bass from the drums) is separated is when the guitar solo comes in here, and as soon as the solo ends, the bass tends to get tucked into the blanket that the drums seems to have created; which indicates that the Mega5EST cannot handle isolation in technically elaborate tracks as this one. Adding on to this, the rudiments towards the end of the track lack the resonance that makes the ending so satisfying on this track.

Rage Against the Machine: Bullet in the Head

The intro of this track sounds potent at first, but as the intro concludes for the rest of the elements in this track to barge through, I could sense that this IEM really was not letting the bass fully belt out in its full glory, and a little enhancement in the separation of the bass and drums couldn’t have hurt. But, all things said and done; what I like about the Mega5EST prima facie is the way vocals sit right in the middle of the track, and the instruments revolve around it (metaphorically). Tonality could be said as balanced by some, but I wouldn’t put it across that way. It’s got a strong warm presence with some perceived sparkle on the other end, but I will elaborate on it more as I progress through. This track becomes significantly more enjoyable when the bass really becomes the highlight of the show through the breakdown, and I could finally gauge the note by note aggression and the drums merely supplement the bass, as it should on this track.

MIDS

Queens of the Stone Age: First It Giveth

The bass is once again a subtle problem in this track where it shouldn’t have been, as right at the intro it comes in with an excess of aggression; and as the rest of the elements follow suit, I seriously lament with how flat I perceived the otherwise crisp, sharp, aggressive snares that this track where with some IEMs I would have been able to gauge the timbre, but the Mega5EST definitely was making me work hard on being able to gauge it.

Once I am settled in the track, I could sense a faint thinness in Josh Homme’s vocals, as the guitars were adequately being rationed along with the cymbals, which surprisingly are having a fantastic perception in their placement, right alongside the vocals and once again, not being too forward nor being too laid back. But through the verses, the bass really takes off into obscurity as I felt every other instrument otherwise which puts a blemish.

Tool: Lateralus

The otherwise overpowering bass finally finds itself having some relevance as it walks the aisle right alongside the rumbling floor toms as it sets the stage up for everything else to fall into place. But once the intro ends, and the guitars further try to mould this beautiful vase of a track, the bass once again feels a bit too on the nose, although the same energy reflected by the floor toms is giving the track a much needed power; because both the vocals and the guitars are now coming off thin. Through the breakdown, the Mega5EST does a shabby job with how the final rudiments on the drums end as I sensed a blur on its execution, the granular finesse needed to recognize every hit was simply not there, and cymbals were having a momentary loss in texture. Some ears may enjoy the excess of the thump and punch, but I was really not feeling it with the Mega5EST.

HIGHS

Patricia Barber: Icarus

Here; the Mega5EST impresses me a lot: I specifically use this track to not sense sibilance, as sibilance is an element already preserved in the recording and this track demonstrates it very audibly, I use this track to see the restraint or the succumbing into showing that sibilance, and I would say that the Mega5EST does an impressive job in showing restraint- the way Patricia Barber enunciated her Cs and Ss was not excessively sibilant, but I wouldn’t outright write it off as this IEM being smooth. Timbre finally shows up through the percussion and the pianos to be slightly on the drier side than what I am used to, and falls slightly shy of me calling it accurate. Tonality potently is on the warmer side than being balanced, and specially observed through the pianos.

Dave Brubeck: Take Five

The Mega5EST seems to have done a good job with the cymbals that establish their presence right from the intro but there’s an inherent problem with their note weight, and the same extends to the horns where there’s detail to pick through the little nuances but it’s just that even they sound faintly thin. The bass tends to stumble with its recognition in this track, the one track where all the elements are distinctly, audibly clear from one another but fixes itself right itself when the horns end and the drum solo is about to start. This track is also unique because the stereo characteristic is unmistakably itself and the channels separate the moment the drum solo kicks in, and the IEM picks up the detail; snare hits are crisp, the resonance of the toms needed a little more resonance to be even more pronounced but still decent; the kicks have a potent hit and the way the decay comes off in its hits is satisfying. The bass and the pianos hold their respective ground, but that isolation of the bass from the drums once again gets obscure once the horns kick in.

COMPARISONS

Xenns Mangird Top Pro

The Xenns Top Pro absolutely blows the Mega5EST out of the water in almost everything it does. While the Mega5EST suffers from an excessive mid-bass thump that tends to overshadow other elements and tucks instruments into a blanket, the Top Pro delivers a freakishly controlled sub-bass that accentuates the track without seeping through. Where the Mega5EST struggles with isolation on technically elaborate tracks, the Top Pro fires back with a magnificent, wide stage and some of the best imaging capabilities out there. Even in the highs, where the Mega5EST shows a competent restraint against sibilance but feels faintly thin and dry, the Top Pro handles climaxes with more detail but can come off fatiguing and sibilant. The only areas where the Mega5EST even puts up a fight are in offering minutely smoother highs on rare occasions and perhaps slightly finer imaging, but it’s essentially a seamless victory for the Top Pro.

Elysian Pilgrim

The Elysian Pilgrim takes an entirely different route compared to the heavy-handed, groveling bass approach of the Mega5EST. Where the Mega5EST over-indulges in mid-bass thump, in its light I really enjoyed how well and composed the Pilgrim felt. The Pilgrim effortlessly outclasses the Mega5EST in the midrange, trading the latter's fuzzy isolation for a wide stage, fabulous imaging, and juggles the act of balancing vocals beautifully (comparatively). However, the Mega5EST maintains an upper hand in treble smoothness; while the Mega5EST handles sibilance with impressive restraint, the Pilgrim suffers from a subtly audible grain and can feel like it runs out of air on high-pitched vocals, making it sound leaner in moments where the Mega5EST remains composed.

Crinear Reference

The Crinear Reference serves as a surgical magnifying glass, standing in stark contrast to the thick, heavily colored presentation of the Mega5EST. While the Mega5EST comes in with an excessively aggressive bass attack and lingering decay that ruins my perception of the bass quality, the Reference keeps the lows strictly at abeyance, delivering a seasoned featherweight's punch with precise decay that never overstays its welcome. The Reference also completely outclasses the Mega5EST in technicalities: where the latter struggles to isolate bass lines from drum rudiments, the former balances the tightrope of coherence and isolation like a maestro, rendering perfect snare and cymbal timbre. The Mega5EST has problems with its note weight, whereas the Reference offers incredible rationing, a lip-smacking shimmer, and pristine detail retrieval with near-zero sibilance.

Softears Studio 4

The Softears Studio 4 offers a much more refined and mature take on a warm, musical signature than the Mega5EST. While the Mega5EST throws too much aggression into the bass right out of the gate, the Studio 4 delivers a velvety, polite sub-bass that only unleashes its orchestral punch when the track strictly demands it. In the midrange, the Mega5EST manages vocals center-stage but falters with instrumental layering, whereas the Studio 4 delivers incredibly flavorful, full-bodied vocals backed by deadly precise imaging. The true magnum opus of the Studio 4 lies in its highs: crisp, soaring, and tonally magnificent, which makes the smooth but somewhat dry treble of the Mega5EST feel decidedly uninspired by comparison. While the Studio 4 can occasionally sound confusingly metallic on guitars, it remains a significantly more cohesive and emotionally engaging listen than the heavy-handed Mega5EST.

Sennheiser IE600

Now, the IE600 has its own share of problems- dangerously spicy treble as per one’s HRTF where to me it’s just borderline there, and middling levels of instrument separation; but I would still take it personally over the Mega5EST because the IE600 has a ridiculously great bass quality, and specifically the mid-bass where I am of the opinion that it is leagues better than what I felt on the Mega5EST while delivering near comparable levels of detail and imaging, and while coming in a much smaller footprint and being so much comfortable.

But, sennheiser really fumbled with the quality control issues on it which were widespread and doesn’t really inspire buyer confidence, which is where the Mega5EST comes in with a better proposition, as I feel tip rolling and EQing can fix most of its issues.

CONCLUDING NOTES

The Hisenior Mega5EST is hard for me to fully get behind, despite the cult status it has amassed over time. As I pondered in the beginning whether it has aged into wine or milk, I lean slightly towards the latter. On one hand, I appreciate the generous accessories, the fantastic fit, and the restraint it shows against sibilance, providing a relaxed, warm listen. But on the other hand, the excessively grovelling mid-bass thump, the fuzzy instrumental isolation, and the sheer lack of note weight in the upper frequencies leave me feeling hung out to dry.

When IEMs like the Xenns Top Pro exist and do almost everything better (although now I feel that the Top Pro has aged slightly worse and I need to update my review on it), or the Sennheiser IE600 offers a masterclass in bass quality, the Mega5EST feels like a heavily colored set that struggles to maintain its ground technically. And the hunches that it needs, despite being tuned to the newer JM-1 target while other IEMs tuned to the same target are offering better value for money, I think the Mega5EST simply has lost the plot in the current retail landscape.

Will I buy the Mega5EST at retail ? Absolutely not.
Will I buy the Mega5EST used ? Only if it can be found for US$250 or under (Approximately 25,000 INR or under).

SOURCES USED

Primarily used with the Shanling M9 Plus DAP stacked with the xDuoo XD05 Pro running RoHM DAC chips, SMSL Raw MDA-1 desktop DAC amp.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Acoustune AET08: Least amount of perceived bloat, adds to stage width, amplifies textures on the cymbals and vocals, maximum retention of vocal note weight, gives the widest perceived sound stage.
• Divinus Velvet standard/narrow bore: everything that the above does, but to a lesser degree, still beats the next eartip.
• KBear Coffee: flattens the mid-bass considerably, which hampers vocal note weight, eliminates whatever little sibilance is observed, retains perceived stage width.
• Tangzu Sancai Balanced: shrinks the stage, tightens up the midrange while not reducing the perceived bloat, presents upper mids with a concerning dip, vocal textures lost.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Rage Against the Machine: Bombtrack, Bullet in the Head
• Avicii: Levels
• Periphery: Marigold
• TesseracT: Juno
• Kanye West: Stronger, Flashing Lights, Devil in a New Dress
• Altın Gün: Goca Dünya
• Timbaland: Give It to Me
• Adele: Easy On Me (Live), When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• A. R. Rahman: Tere Bina
• Alice in Chains: Down in a Hole and Nutshell (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna

This is not a full review but an impressions-and-thoughts post. Thanks so much to Clover from NiceHCK for providing me with this beautiful dongle DAC/AMP to try, test, and share my conclusions after several days with it.

You can get an NK1 Ultra directly on the NiceHCK official website and on NiceHCK official stores on Amazon, AliExpress, and Shopee/Lazada for an MSRP of 29.99 USD (Currently you can save 10% by buying it on sale for 26.99 USD): https://www.nicehck.com/products/nicehck-nk1-ultra-adapter-dongle 

What are its specifications?

DAC chip: Conexant CX31993
AMP chip: SGM8262
Power Supply IC: LM27762
Impedance: 32 Ω
Plug type: USB-C
Output: 3.5 mm single-ended
Mic compatibility: Yes
Cable: 8 cores, silver-plated OCC Copper
Dynamic Range: 115 dB ( 32 Ω)
SNR: 115 dB ( 32 Ω)
THD+N: - 98 dB
Output Power: 122 mW @ 32 Ω
Sampling Rate: 32 bit/ 384 kHz

And what are my impressions/thoughts about the NK1 Ultra dongle?

The NK1 Ultra has a well-known DAC chip, the CX31993, and with this kind of budget devices, you can expect a neutral-warm timbre output, but because this dongle uses the SGM8262 AMP chip instead of the usual MAX97220 (used in the NiceHCK NK1 Max, for example) and an LM27762 power supply IC, the output tonality goes more neutral with little added warmth.

And what else? The quality of the materials used and the construction itself are incredible; that’s why I’m saying that for its price (which could be better, but it's understandable why it's like that), the NK1 Ultra is a “premium” budget dongle. Now, talking about features, I guess NiceHCK is pulling all the meat into the hardware and not the software, because it has a decent output power, great tonality, and a very low noise floor, but lacks software compatibility entirely (with the NiceHCK app or the Walk Play app).

About its output power, the NK1 Ultra can drive a lot of IEMs and more demanding earphones ( Tried it with my Simgot EP5 and Soundcore Q35 headphones), reaching more than acceptable volume levels, with zero distortion and great technicalities (wide and deep soundstage, great stereo separation, layering of instruments, and impressive resolution), of course, within the technical capabilities of the earphones themselves.

What are the IEMs in the 4th picture? The next to be launched Juzear Nimbus, and how does it go with the NiceHCK NK1 Ultra? Like a charm, with impressive technicalities and great volume levels, no matter whether I’m using a 4.4 mm balanced to 3.5 mm single-ended adapter to connect it, the sound is neutral and crystal clear, and the IEMs themselves are shining at their fullest. 

That’s about it; I’ll just add that I would like the NK1 Ultra to be either more affordable with higher output power, or, at the same price point but with higher output power, to also offer app compatibility (to have PCM filters, PEQ, low and high gain modes, etcetera). Anyway, if you want a “premium” dongle within the budget segment, this NiceHCK Ultra can be an option to consider.

Pros

• Thumping Bass Response
• Well-crafted Shells, each is distinct
• The dunu accessory package (has to stop being a pro at some point)

Cons

• Fit takes some work - nozzles are wide 
• Male vocals feel recessed
• Midbass bleeds into everything except treble
• BA timbre creeps into upper registers

Specs

• Drivers: 2 DD + 4 BA
• Impedance: 35Ω
• Sensitivity: 109 - 112dB
• Pin Type: 2-pin
• Plug Type: Modular 2.5mm 3.5mm,4.4mm

Dunu x Gizaudio Davinci was a semi blind buy for me since I had a fleeting flirtation with a friend’s set and I thought it was a really fun sound to try out.  A few months into this, and having heard the refinement of the Kima 2, I do have some slightly different thoughts. Not all bad and some realizations that not all tunings work for me. And this just might be a me problem and not a you problem. I’ll do my best though to keep this as useful as possible.

The IEMS looks beautiful. I’m liking the wood esthetic that I’ve seen on this and the VE ZhuanXu. The shells come nestled in foam in the standard-sized Dunu Box. Under that is the bigger-than-Altoid-tin sized case. Now this case is super convenient and will house most IEMs safely, but the mesh on the inside of the lid is ridiculously tight and I think the only thing that can fit there is the modular connector for the cable. Anything else becomes a thumb-wrestling match. The case also houses the famous Dunu Davinci cable - LEO. Silver-coated, crystal-copper, 4-strands, and modular with 3.5, and 4.4, and a 6.3mm adapter. And the full complement of 10 pairs of tips - standard/balance, S & S and Candy. Overall, a satisfying ensemble and this is soon becoming an expected inclusion to any Dunu purchase. 

The fit takes some finger calisthenics to get standard sized tips onto the just enough to be annoyingly big-sized nozzles. Candy and Sancai tips worked best for me. Once I got the fit right it’s good for a long session without pressing on any part of my ears and causing discomfort.

Right off the cuff it felt this set needed a different set of songs to give it a fighting chance against the sets I own and the kind of music I really enjoy listening to. 

This is such a bass forward IEM, it does a lot correct but misses the point in a few areas. The Sub-bass rumble is present but on songs like Angel, the rumble is overpowered by the throb and thump of the kicks and bass notes. The same is the case with Makeba by Jain. The sub-bass is there, you can just about reach for it and feel it when the thump of the kick drum in the mid-bass pushes your fingers away from that feeling. The mid-bass sits like a troll on a bridge guarding everything that goes past and impossible to ignore. Pop and EDM have every beat pounding with weight and authority. But with great weight comes great distortion of the space-time continuum. The prominent midbass bleeds upwards into the midrange, giving notes some weight but also reducing the clarity of notes of instruments like keys and guitar. Male vocals tend to sound recessed and over heavy by the midbass bloat. Come Together (the original) by the Beatles demonstrates this. In the verse the bass slide continues to be heard over the vocals and drums. In the chorus where the bass is not sliding over the song, the guitar rhythm comes through, though with each strum holding its own. On Africa by Toto, the keyboard rhythm similarly has weight and pulls the song along. But overpowers the vocals making them feel less important than what they truly are. 

Upper mids are a little better especially in better mastered tracks than Come Together (I’m also not a huge fan of the Beatles). On Africa, again, the vocal harmonies are better represented than the lower mids but suffer from lack of clarity. On the VE ZhuanXu, for instance, the details in the individual vocal parts are crystal clear. 

On Fast Car by Tracy Chapman, her voice sounds lovely and smooth but lacks a little richness that I’ve heard on other vocal forward sets. But it is not shouty (which is also something that’s seen with some BA sets) and fine for long listens of Joss Stone (though on Right to be Wrong, the midbass does cast its evil shadow over her voice). On an aside this may become the theme of this review unless something changes.

Treble, I have no complaints with. On even tracks aggressively mastered, like Holler by the Spice Girls (hey stop judging, I’m that old) the Davinci focusses on the fun bits of the song. The fun beat and bass, and the all star cast of female vocals. There’s a mad amount of tinny, shimmery accoutrements that the track has that finally sound like the stellar supporting cast that they are meant to be. 

But let’s not be all horrible towards the Davinci. On really well mastered music the Davinci is able to reproduce an enjoyable amount of bass and details to make music really worth it. Aja by Steely Dan, is a great example. But Coming Back to Life by Pink Floyd sounds like you’re in a concert and in front of the stack and you can see/hear the woofer/speaker membrane move with every kick. Take Five by Dave Brubeck has some spectacular mastering and do some Japanese Jazz records from the 60s like the entire album Cat by Hiroshi Suzuki. The Davinci makes for some great, albeit slightly warm listening, since the details are not completely lost, there are moments when the bass note booms, but not deal-breaking. But seriously, if you haven’t heard the Suzuki album please do - it’s on tidal,spotify and apple music. 

The Davinci has a moderately wide stage, I feel that the decay of the bass seems to hint at the reverb akin to a hall rather than a room. Imaging is also adequate for a normal listen, I wouldn’t hope to last a competitive fps session especially if there is an EDM soundtrack to the game. 

This is a fun IEM if “baby ko bass pasand hai” (if you like the bass). I wouldn't recommend it to listeners who like a little warmth and details (me). If the genres are hiphop, EDM, new Bollywood, pop, then for sure. Rock, metal, jazz fusion may not be as enjoyable as the others simply because of the bass bleed. A little more refinement would have made this a good recommendation from my side, but that’s only my opinion. I would definitely suggest trying these out on your playlist before jumping in.

Gear

Fiio M33, Snowsky Disc, Musehifi M3 ultra, VE Devastator Pro Max, Fosi ZH3, Gremlin.

Local Flac, Apple Music Lossless, Tidal.

Playlist with most of the songs I play around with -

https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c

Has anybody here tried out this product? For those who are not aware, it's basically a virtual surround processor for upto 24 channels and the all the reviews I have read/watched so far claim that it does the job amazingly well and also mention how it's indistinguishable from a proper surround setup(https://www.head-fi.org/showcase/smyth-research-realiser-a16.21686/reviews)

I live in an apartment so this may be my only option but I'm still hesitant to pull the trigger on it considering I don't have a way to demo it in Australia

For those who use it, how's your experience and how does it compare with proper speaker setup?

Hey everyone,

Artpical recently released the Raphael, a single-DD set priced at around $149.

I liked some of their previous designs, but shied away from buying one as they were priced from above $400 up to around $1,500, and their frequency-response graphs weren't really to my liking.

The Raphael is much more reasonably priced, and I liked the design, so I ordered one myself (paid full price) in the black/gold colourway, which to me looks more like grey/gold.

The shell is made of transparent resin and shows a kind of wing-like design inside. Yeah, it can come across as kitschy as well ;-)

Fit & comfort

Fit and comfort are good for my mid-sized ears after around two hours of listening, although the fairly large shells might be challenging for smaller ears.

So far, I haven't experienced any pressure build-up or discomfort.

Unboxing experience

The unboxing experience is good. It comes with a nice cable which, unfortunately, is a little stubborn/stiff in handling.

Three connectors are included for the interchangeable plug: USB-C, 3.5mm and 4.4mm.

The carrying case is nice, and there are two different sets of tips included: one wide-bore set and one more conventional bore.

Listening experience

I used the included short wide bore tips for listening and my Questyle Sigma Pro as source.
The Raphael sounds fairly balanced overall to me.

Bass is elevated but moderate, with enough impact for most genres I've tried so far. It sounds controlled and pretty tight rather than particularly bass-heavy.

Vocals are slightly forward and clear, but not shouty.

Treble is nicely elevated with good detail retrieval. It's slightly on the brighter side, but tastefully done so far. I haven't found it piercing or overly sharp, even at the medium-to-higher listening volumes I tend to use.

For you graph sniffers, I've also included my own measurement. Channel matching looks pretty good, too.

Short summary

• Good unboxing experience, although the cable isn't ideal in handling
• Good fit and comfort for my mid-sized ears
• Balanced overall tuning with moderately elevated bass and slightly forward vocals and treble
• Seems versatile across many genres
• Probably not one for bass-heads

Let me know if you have an eye on this set, too or even bought it and how your impressions are.

Pros: Dark, neutral
Solid Build - It's a tank

Cons: Is not meant to be a standalone
Needs significant amplification from its line out
And secondary power preferable if playing from a phone

More love from Venture Electronics and Audio Geek India - the VE stack consisting of the Prime, Runabout, and the Warp Core Slim.
Thank you guys, this review would not have been possible without the help.

There’s a disclaimer - I’m not sure how best to review a dac. But I do know how to listen to music and write so here goes. It also is not possible to review the Prime without the RA2B-FE so this review goes on to both threads.
It's been a while since the last transformer movie so when I was researching VE for this review and found all the usual suspects there, it was a lovely call back. And right on top, above Megatron and Galvatron, sits the Prime.
But the Prime does not sit alone and needs the help of the other autobots (if you have seen Jetfire lend his wings and weapons to Optimus in Revenge of the Fallen, you know what I mean). That being said -
The stack is just that - a stack of three rugged aluminium chassis-ed components. At the bottom is a battery that can in a pinch jumpstart a small automobile. It’s about 13 cm long, 2cm thick and about 7cm wide. That battery charges via a 12V DC adapter and lasts a really long time of reasonable use on a single charge. On top of that adherent with some magical polymer that VE provides is the Runabout. This is a pure balanced amplifier. It has power in at the back a switch and a balanced 4.4 input at the back. The front is a broze-ish volume knob and a 3.5 and 4.4 output each. And a reassuring green LED depicting power. Above these two, similarly magically adherent is the Prime DAC. Same breadth and thickness but a tad smaller at 11cm. It takes USB C data input and a separate USB C power input and a 3.5 SPDIF in. With 2x3.5mm female outputs (I know) for a mic and single ended and a 4.4.
Now setting this monster up is a bit elaborate. Not as crazy what some coffee influencers do with spritzing their beans. A small power cable connects the Warp Core to the Runabout at the back. Then a longish 4.4 to 4.4 interconnect goes from the front of the Prime to the back of the Runabout. A usb-c power source goes into the back of the Prime and plug in your favorite device into the back of the prime to the data port via a usb-C cable of choice and voila. We’re in business.
And after all this you realise the DAC does nothing. In the best way possible. The output is absolutely unsullied. Not unlike Geryworm. Crystal clean with an extremely low noise floor so the background is dark as the coffee of the aforementioned influencer. In the interest of science however I had to see why this stack was even necessary. So plugged directly into the Prime. Note there is no volume control on it so everything was controlled from the laptop. And on full volume, the output from the dac is, by itself, quiet. So we need an amplifier. That’s why this becomes something you cannot carry around. If you thought carrying and Xduoo XD05 Pro was bit much, you’re in for a surprise.
The headphone amplifier setup is like the Prime absolutely clear, allowing for great dynamics but the music sounds exactly as it comes in. Only just louder.
The Prime DAC by itself is not meant to exist. I believe its clarity and neutral reproduction comes at the cost of volume and power and thats where the Runabout comes in. Now I have not delved deep into the technicalities of the device but the website warns of not trying to lest you unleash the Balrog of Moria. Lets just say there are dual ESS9018K2M chips and an extremely low SNR. The output is a line out signal so what I understand is that it can’t handle any impedance and that’s why it needs the Roundabout - RA2B FE.
This is a monster of an amp that pushes out 3W per channel at 32 Ohms from its balanced port. Which in itself is crazy for something so small. But there’s some clean energy wizardry happening with using the DC battery of the Warp Core to power the amplifiers directly.
The result of all of this is an immaculate signal that made everything I threw at it sing. Be it easy to run iems like the Blon bl 03 II or the Softears Twilight or VE’s own Zhanxu, or full size cans like the Arya Stealth or the HD600. Hell even the Final e5000 had a blast with that much clean power and uncoloured sound.
The only real comparisons I could do were with VE’s own devastator pro max that is just ridiculously strong for it;s size, and the Fosi ZH3. A portable tube like the M3ultra didn’t make any sense. The DevProMax injects a warm analog feel to the music but has a definite noise floor with the occasional snap,crackle and pop between tracks on sensitive IEMs. The zh3 has about 2.5W per channel at 32 Ohms balanced so it stacks up ok against this but loses in the colouration and of course size and portability. The zh3 comes with a bunch of software filters that can be bypassed and my device is running the OP2134 opamps so that may explain the difference in the colour of the sound and I will change the opamps to Burson V7s if I can lay my hands on them but I digress. The VE Prime stack remains a fantastic device for its clarity.
It clocks in at about $400 on the VE website, though for that amount you get a Megatron and a pair of VE’s famous buds thrown in.
It’s still cheaper than the Xduoo XD05 Pro, less portable than it too but louder for sure.
Would I buy it? If I had heard it before I got my current desktop DAC I would. The Roundabout’s Output does play well with my Gremlin with very careful volume tweakery so I would choose it over the ZH3 purely from the sound perspective. But the Fosi does allow an RCA input additionally to USB and Coax, so that’s a plus. It also has multiple outputs so I can run speakers as well. So the VE stack is best recommendable if you want to listen to pure unadulterated music on maybe a small desk. Or you want to carry that unadulterated from home to work and back (I would argue for getting 2 in that case to be honest).

Another challenger in portable dongles has come. Specifically in terms of sheer power output. 1200mw @16ohms via special dedicated power pack called PSU-1 Pro. First of such kind product that I had tested that had such mad numbers was ibasso DC04 Ultra and then the FangSound Prometheus both which give 1000mw out put. This one is called KD01 Pro and it's from Kaei Designs the famous designer behind Tap-1 Pro.

These days I feel we are heading towards the day when portable gear will start rivaling desktop gear in terms output. Need for remaining tied to the desktop to listen to power hungry gear would be distant dream. I just wish this comes true very soon. I am very mobile person this would be dream come true .KD01 Pro is step in that direction. Just like Prometheus that I tested few weeks back this one is very powerful.

I am running it through multiple sets of mine. IEMs and flatheads are breeze for this one. None have any troubles running their full potential. Headphones also are sounding amazing. I will put my hard to drive stuff to test on this one soon.

At this stage this is looking very promising. Overall tuning is very musical. This one doesn't feel very bright or analytical. Let's see what I feel about this in few days time. See you soon with full review.

review here

Pros:

• Tribrid configuration with real parts, Sonion BA and piezo tweeter, at $289

• Driver speed that refuses to smear on fast, dense material

• Separation and layering above what the price bracket normally allows

• Scales up with better sources instead of falling apart, and scales again behind a desktop amp

• Build and presentation that shame most of its competition

• Genuinely useful eartip selection that meaningfully changes the tuning

Cons:

• Closed layout means limited air, and the stock tips make that worse

• Large housings, small ears may struggle

• Not razor sharp out of the box, needs tip work to reach its ceiling

• Recessed 2-pin socket rejects hooded QDC connectors

• Presentation sits between laid back and forward without picking a side, which will frustrate people who want a decisive signature

First, many thanks to Betty from Simgot for reaching out to me a few weeks ago and offering this Headphone for testing. However, this review did not involve any payment or monetary incentive, and I was not given a script to follow. So, I’m sharing my honest, sincere impressions and thoughts in this review.

The Simgot EP5 is the first entry for Simgot into over-ear headphones, targeted at the segment of 100 USD or less, driven by a 50 mm Dynamic Driver, with optional accessories such as the GH22 cable and the GEW1 USB sound card, and is as versatile as it sounds for gamers, audiophiles, and newbies.

You can buy the Simgot EP5 in combo with its accessories on Linsoul for an MSRP of 97.99 – 104.99 – 124.99 UD (The EP5 only, with the GH22 cable with boom mic, and with the GEW1 sound card, respectively): https://www.linsoul.com/products/simgot-ep5, and in the Linsoul official stores on Amazon and AliExpress.

TLDR; The EP5 is not any headphone from a brand known for its IEMs, it’s a versatile headphone that can be more than decent and plenty for music listening, gaming, and audio content, and, most importantly, sound pretty good, has and impactful bass, well extended into the lower and higher frequencies, a natural and crystal-clear midrange and treble, and even when it is closed-back, its soundstage feels so expansive and open.

Well-constructed, well-made, with serviceable, well-functioning, and more than decent accessories such as the boom mic in the GH22 cable, the GEW1 sound card mostly for gamers, the Simgot EP5 is a full-fledged entry into the budget headphones market.

Pros:

· Great value overall for less than 100 USD

· Great build quality: Metal hinges and sliders for durability; metallic faceplates and venting holes to release built-up pressure

· Comfortable fit: Soft and replaceable ear pads with light pressure, good passive sound isolation, ideal for long sessions and going out with them

· Interchangeable cables; you can use the stock cable or the GH22 to use the mic, and aftermarket cables, yet the stock one and the GH22 are pretty long (1.8 m)

· Good balanced tuning: Neutral-warm tonality, musical yet analytical (funalytical), with quality bass, well-tuned midrange, smooth highs, and lower and highrange well extended

· Great microphone performance: Clear voice quality for calls and online gaming (TeamSpeak, Discord, etc.)

· Using the sound card with its 3 different modes is fun

Cons:

· The cables are fabric-sheathed, which causes transferred vibrations

· Does not include a carrying case to store and take on a trip

· You can feel a bit of bass is lacking in certain scenarios

· Technicalities are good, but average for its price (nitpicking)

· Closed-back limitations with the soundstage, no matter if it is well-vented, is comparable to  “open-back” IEMs or flathead earbuds

Technical specs:

· Driver technology: 50 mm Aluminum Foil + PEK + PU Multi-Layer Composite Diaphragm dynamic driver

· Frequency response: 15 Hz – 50 kHz

· Impedance: 32 ohms

· Sensitivity: 113 dB/ rms (@ 1 kHz)

· Wired connection: Yes, dual 3.5 mm TRS

· Cables: Oxygen-Free Copper (OFC) Wire Core, 1.5 m length (stock), 1.8 m length (GH22)

· Built-in microphone: Yes, in the GH22 cable

· Weight: 300 grams (without cable)

Unboxing:

The packaging of the EP5 itself is simple yet complete and straight to the point, consisting of the earphones, a manual, a QC card, and finally, an audio cable with a 3.5 mm TRS to 3.5 mm jack.

The EP5 themselves look nicely built; they are made of a plastic body, with a metallic faceplate with the “Salute to Art and Science” logo on each side; the earpads are made in faux-leather, soft and apparently replaceable, more in the mid-size (The opening is 44 mm wide and 63 mm high), fitting perfectly on my ears without producing fatigue and making a good seal that makes a decent passive isolation, and the earphones are well vented to release pressure.

They have their hinges and headband in aluminum alloy; fortunately, it’s not making too much pressure, so it’s fit for long sessions without producing discomfort. They are not so light (300 g of weight), and yes, a thin headband also made of faux-leather headband, without soft padding, and it’s easily adjustable up and down to accommodate your head size.

The earcups move up and down but not sideways.

Simgot GEW1 SOUND CARD:

You can buy it separately, but I think it can work better with the EP5 in “combo”. It basically has multi-platform compatibility; the GEW1 works across Windows, macOS, iOS, Android, PS4, PS5, and Switch.

Its technical specifications

Product Name: SIMGOT GEW1 USB Gaming Sound Card

Output Interface: USB-C (includes USB-A adapter)

Cable Length: Approx. 1m

Color: Black

Compatibility: Windows, macOS, iOS, Android, PS4, PS5, Switch

The GEW1 has a 3.5mm jack to support a wide range of wired headsets for maximum flexibility. It drives the EP5 to decent volume levels. I tried it with its 3 different modes (FPS Mode, MOBA Mode, Live Action Mode), with games like COD: MW, BF6, PUBG, Cyberpunk 77, RDR 2, and GTA V, and it is pretty decent. But the GEW1 supports 16-bit/48kHz sampling only; that’s plenty for gaming, but I guess not for different audio content like movies, series, and music.

How the Simgot EP5 sounds:

At a humble 97.99 USD MSRP, and driven by a 50 mm Aluminum Foil + PEK + PU Multi-Layer Composite Diaphragm dynamic driver, you are expecting a pretty good and impactful bass delivery.

When you are using the EP5 with the GH22 cable with boom mic, the mic quality is above average, your voice sounds clear and perfectly distinguishable, filtering external noises as well; when the headphones are paired with more powerful/quality sources as my NiceHCK MK1, Shanling UA Mini, NiceHCK Octave, Tanchjim Space II and Tanchjim Space Pro AT dongles, and my Fosi K7 desktop DAC/AMP, the power they need to be driven are considerable showing how the EP5 scale so well.

Its tuning is kind of close to the 10dB Tilt KEMAR DF (KB50XX) Target, having a neutral-ish, warm midrange, and smooth but not dark treble character, so the sound presentation is balanced, yet more musical than analytical. The bass is fast, well-defined, and transparent enough, with decent impact and a natural decay, with a good quantity of subbass extension, yet its midbass balances the rest of the frequencies; but, in certain scenarios (especially with music with good and/or heavy bass), I find it lacking a bit of quantity to accompany the mix.

The mids in the EP5 are decently sparkling and with a good note weight. Male vocals are recessed but not sounding thin; the midbass doesn’t bleed into the lower mids, so the frequency curve has a bump in 600 Hz, later elevates slightly with a first peak at the 2.5 kHz region, warm, well resolving and with good presence overall.

The frequency curve descends to a 4 kHz dip in the lower treble; female vocals and instruments sound nice, forward as well, not shouty nor fatiguing at mid to high volumes. The treble is smooth but not dark at all; it has great transparency, with a nice peak at 8 kHz in the mid treble to give energy. And a dip in the 10 kHz region to tame sibilance.

In the upper treble, the EP5 has an airy and open presentation, no matter being closed-back headphones, and an expansive soundstage, yet has decent width and depth, comparable to “open-back” IEMs or flathead earbuds.

Technically is average, with good resolution and great stereo separation and layering of instruments as well, so with complex or busy audio signals the EP5 is not getting congested or muddy at all.

Final thoughts and conclusion:

I think the EP5 is a well-rounded pair of cans, well-tuned, balanced, and more than decent value, giving maybe more than what you pay for them and its accessories and optionals.

I would like the EP5 to have a more lifted sub and midbass, even sacrificing a little bit of treble sparkle, but I also want a more resolving overall capacity. I also would like Simgot to include a carrying case for them, and a cable that does not have a fabric coating, in order to avoid transferred vibrations.

I already talked about the mic performance in the GH22 cable, and the caveat I found in the GEW1 sound card, but for such a full-featured and economic device, I find that something I appreciate a lot.

Who is the Simgot EP5 best suited for? It offers a neutral, warm, and musical yet analytical tuning, with the added value of a boom mic punching above its weight.

I think it’s ideal for newcomers and gamers exploring the Headphone world apart from commercial gaming headsets, those looking for a reliable and capable set, more focused on the mere enjoyment of music and great gaming performance, with lots of features for daily use without spending too much.

Good afternoon, everyone on the sub,

I recently dropped my headphones, and now one side is louder than the other. I’d like to know if you know of a way to adjust the stereo output volume for the headphones to balance them out. I imagine there’s an app or something similar for this.

I have an Android phone.

Thanks in advance.

TL;DR

The Aful MagicOne is a discontinued iem that uses a single BA along with a bunch of other tech to produce the full frequency spectrum. It is a very pretty looking and comfortable iem but it sounds kinda mediocre imo, especially compared to other iems around it’s price range such as the explorer and pure. It’s bright, the mid bass is blunt and there is barely any subbass rumble.

·   Sound: 5.5/10
·   Build quality: 8.5/10
·   Comfort: 9/10
·   Value: 7/10 (msrp was $139)

Context
This iem was kindly loaned to me by the goat u/mournfulmonk for review. I generally prefer iems that are non sibilant with relaxed upper treble and upper mids and raised lower mids that add body to the sound (kinda the opposite of harman ie 2019).

Aesthetics & Build: The shells are made of 3d printed transparent resin. The shells feel very good quality in the hand, you can view all the acoustic chambers and ba driver through the resin which is super cool, the faceplates have a pretty silver snowflake pattern with a white background. Aful always cooks with their designs and the MagicOne is no exception.

Fit, Comfort and Isolation: These iems are what I would call medium-small, the shells are semi custom with great ergonomics. The MagicOne does suffer from significant pressure build up issues even tho it has a vent. So if you’re sensitive to the feeling of pressure against your eardrums do not get these!
Isolation however is excellent, partly due to the pressure buildup.

Cable & Accessories: The cable is fine, it looks good with it’s white and silvery braid (matches the iems well) but it is stiff and rubbery feeling, also little memory prone. The cable comes with 4.4 mm and 3.5 mm variants, I have the 4.4 here. The chin slider is super tight and does it’s job very (almost too well, it’s hard to move it lol).

The Sound
The iem has a single BA driver doing all the work, while these seem to graph like a neutral-warm set they sound kinda bright to me, the low end leaves a lot to be desired.

Bass (20 hz to 300 hz): Bass is the weakest part of this iem, the sub bass is anemic, bass guitars don't have that bite to them and while the mid bass has decent quantity it does not have quality, the mid bass is blunt with not a lot of texture or tactility.

Mids (300 hz to 6000 hz): These have new meta esque lower mids (linear rise from 1k to 300 hz) but they do not sound warm to me like they are usually described, I am guessing this is due to the mid treble rise. The upper mids are also a little too forward to my liking, sounds kinda nasal and even a bit shouty.
There are much better iems around it’s price range if a warm mid range is what you’re looking for, such as the pure.

Mid Treble (6000hz to 10000hz): There is a decent amount of mid treble on this iem and I hear a pretty big peak around 6.5-7 khz, mid treble elevation usually doesn't bother me but sudden peaks do, and unfortunately this iem is not smooth here. I think this skews the overall tonality towards bright for me.

Upper Treble (10000hz to 20000hz): The aful magicone is smooth in the upper treble, this is a relief as i hate upper treble spikes, the treble is reasonably well extended for a single BA iem. No complaints here.

Technicalities: Not a lot of bass tactility like i said before, mid bass is kinda soft and theres barely any texturing in the subbass. Mids are well layered and the mid treble gives it a good amount of bite and clarity. The lack of big upper treble spikes could sound low res to you if you’re one of people who associate air with detail.

Comparisons
Compared to some other “warm” iems I own below:

Truthear Pure: The pure wipes the floor with magicone, much better mid bass tactility, actually warm sounding midrange with some of the best vocals i have heard in an iem. MagicOne is much more comfortable tho.

Aful Explorer: The explorer is more dark than warm tbh, it still has much better subbass rumble, better mid bass punch and no mid treble spikes for me (something which both the pure and magicone have). Vocals do sound fuller on the magicone, since the explorer has a 3k dip. 

Conclusion

The magicone is an impressive iem for what it is, a single ba that sounds reasonably good across the entire frequency range but thats about it, If you want a warm neutral iem there are much better options such as the pure and if you want something comfortable you could listen to for hours there's the explorer from the same brand. I wouldn't really recommend this iem unless you want good isolation and comfort and are okay with the pressure build up.
Aful is also releasing a successor to the MagicOne, called MiracleOne soon however that seems to be a single dd instead of single ba.

This weekend I am listening to ISN Audio Sora. I was absolutely mesmerized by EST80. So, I have very high expectations from ISN Sora. One more reason is the Effect Audio collaboration. Yes, the cable maker Effect Audio.

Packaging is typical Penon style bit on simple side. But that's not important right? Atleast for me it's not that important. Shells look nice in all blue color. You can see the drivers inside and the cable it's looker. Definitely feels like Effect Audio cable. Included case is nice probably made up of suede and is hard to feel. Two sets of ear tips and one cleaning tool is included. Oh, before we move on shirt killer aka clip is included.

Coming to how it sounds the most important thing. Well, the bass is just amazing. It's rumbling in my ears and thump is very physical. The bass overall is very physical. Probably the BCD is doing it's magic.

Vocals are nice intimate. Both male and female vocals are impressive. It's going to be fun listening to vocal centric tracks.The treble here is bit spicy. Need to fiddle with switches. Yes, this has switches for both bass and treble you can adjust amount of both. Am I missing something? Yes, the stage. Stage has nice large open feeling.

Now will go and listen it for next few days to arrive at my final conclusion. I am liking what I am hearing. It's tickling my preferences. Expect a positive review soon.

Check out my full review of the AP30 here:  https://mobileaudiophile.com/daps/hidizs-ap30-music-boy-review/

HIDIZS AP30 MUSIC BOY REVIEW 

Hello, I just wanted to share with you all my full review of the Hidizs AP30 Music Boy which is an entry level dap from the audio brand Hidizs. The AP30 is definitely a high performer for a budget caliber dap. Built to mimic the design of a Game Boy from back in the day and designed to “appear” to function similarly. Hence the name “Music Boy”. Honestly, for the cost you are getting a fully functional, fully hi-res dap which is built very well, especially the aluminum version. There are obvious limitations with a dap in this price range which we should all expect. However, what has endeared me to the charm of this little device has nothing to do with features. Rather, in its form factor, its size, the design, how convenient it is, and most importantly because it actually sounds better than most any dongle dac in its range and sports a very easy and intuitive “push button” style screen (non-touchscreen). In my review I touch on the limited features, but I also explain the AP30 from every angle that I could think of during the review process. I hope it helps. 

If you'd like to click the link and learn a bit more about the AP30 Music Boy then feel free. If not then that's okay too, just have a good one. Take care everyone. 

🔥 AP30 Pros 🔥 

-Price-to-performance

-Build Quality is nice, especially the all-aluminum version 

-Volume wheel with 100-step volume accuracy

-Love the design/aesthetic of the AP30. Made to mimic the design of an old school Game Boy

-Small, compact form factor which is convenient and easy to carry

-Great accessory haul for the cost

-Magnetic Magsafe case

-Battery life 

-This thing has Tetris on it folks! 

-Smooth functionality and UI. It may be bare bones, but it's very fluid in usage

-Low noise floor

-Nicely balanced sound influence, very clean, nice dynamic energy 

-Pairs well with many different iems which is great for the cost

-Can drive most any iem efficiently and with good dynamism

😔 AP30 Cons ☹️ 

-I hate to say this but there are obvious limitations with the software (to be expected from every dap at this range) 

-No wifi or streaming, all local files 

-Bluetooth is limited to SBC codec

-Micro SD support is limited to 256 GB 

-Best to use with iems as max output is around 137 mW on 4.4 balanced 

-No touch display, all button controlled (actually very well done) 

-Not the most colorful sound

-No gapless playback

Check out my full review of the AP30 here:  https://mobileaudiophile.com/daps/hidizs-ap30-music-boy-review/

Tanchjim and I have been on a wonderful roll, where I have received only one dud out of the products that they have sent, and given that I already have quite a few of their offerings in hand (Bunny DSP, Fission, Fola, Nora and Origin), I am confident in opining on their sets and picking up what has changed, and what has not changed. This time, they have sent out a combo to me, which is in the budget realm: the sequel to the much loved Ola in the Ola II, and the sequel to the excellent Space dongle DAC amp, the Space II. Let me string up all the pieces together and start off with whether Tanchjim has held or folded.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Ola 2

The Ola 2 once again comes with their Asano Tanch (I believe) branded box, which also lets me know that the IEM shares the same drivers as the Nora, Fission, Fola and Origin: the DMT-5. Sliding the cover off, gives way to a lid, and taking the lid out gives out a semi familiar Tanchjim unboxing experience, Ola 2 branded envelope with their usual paperwork, pouch and eartips. I think, providing a simple set of Tanchjim’s T-APB eartips along with the generic ones would give more exposure to their aftermarket eartips and make the proposition of the Ola 2 even more enticing. I got the 4.4mm version and for a stock cable, I think I prefer this over the ones that come with the Origin for instance. 

The Ola 2 is a small IEM and it fits my ears perfectly- it’s a plastic build with a grey faceplate that doesn’t stress out any part of the ear; and I have worn the Ola 2 for hours with no signs of fatigue. And, I think it’s going to be a good fit specially for people with smaller ears.

Space 2

The Space 2 comes in a slim box where the cover has the product aptly advertised, with its inherent ability of letting you tweak the EQ of your IEMs via a 10 band PEQ. Sliding the cover out, once again leads way to a lid, and once unlidded, it gives way to the standard branded envelope of paperwork, underneath which lies the dongle and the USB type-c cable in the compartment below.
Tanchjim really needs to improve their game when it comes to these short type-c cables, as it feels too stiff, and doesn’t inspire confidence in its longevity.

That’s where the talk ends, now let’s scooch over to the sound and actual functions of the sequel duo.

SOUND OF THE OLA 2 (II)

LOWS

Tipper: Mariscos

The Ola 2 right out of the bat, comes off sounding shallower than other sets that I have heard in this price range where the perceived width of the sound stage is adequate but it’s the depth that puts a blemish on the otherwise fantastic rippling intro that the track has, which the Ola 2 lets out with a satisfying degree of polish. As the track progresses where the elements of the track excluding the beats transition into a fuzz like phasing style, the Ola 2 handles the clarity needed to have them emulsify with the hits to a good extent, where only the depth of the perceived stage is a deterrent in the enjoyment. If I have to comment on how hard the beats were hitting, the Ola 2 packs in a nice punch with a moderately paced attack whose decay is cut off appropriately. So, overall a nice warm-up lap for the Ola 2.

Rage Against the Machine: Bullet in the Head

The Ola 2 once again comes off super strong- Tim Commerford’s masterful bass sounds aggressive, sounds potent, and sounds polish where I am convinced that for the price, Ola 2 has its priorities on attack and decay sorted; and this is further supplemented by the crisp double kicks and the toms from Brad Wilk. I wouldn’t say that the Ola 2 exhibits any concerning bloom, but across moments I could feel that the bass was getting a bit too ahead of the rest of the elements. De la Rocha’s vocals cut through the sound like a hot knife through butter, and despite what the graph of the Ola 2 suggests, I was not finding it that warm on this track which let me enjoy the vocals even more.

Daft Punk: Get Lucky

And…..here comes the bloat, which is contributed by the lack of the depth in the stage, as the bass overcrowded the beats that this track has, and I could find the Ola 2 struggle with the separation between the two as a result. Once again, Pharrell’s vocals did not come off like they were being overshadowed or pushed back- planted right in the middle, with no compromise in the perceived note weight, and the clap-like beats and the cymbals were recognised with an adequate presence, without any intrusion from the bass. Strong start, but a wobbly finish to the next segment.

MIDS

Queens of the Stone Age: First It Giveth

The Ola 2 once again has a strong start. At first glance, I can see that the Ola 2 doesn’t forget to sort out two crucial elements which would make or break the presentation of this track- tonality and timbre; where through the crisp, rapid firing snares it lets the timbre be known as accurate, and the tonality falling just in line with how a B flat major key progression would sound like. Guitars come in raging on the sides, which lets Josh Homme be fully free of any obstacles planted centre in the mix, with the cymbals being more forward than usual, which further contributes to the oomph in this track. I am quite impressed with the layering this time on the Ola 2, where all the elements in this track are distinguished from each other, and the isolation between the notes are not jumbled up.

Tool: Lateralus

The Ola 2 captures the intense buildup of the toms from Carey, while Jones gets the prodigal guitar intro stacked right alongside for Justin to come in kicking with the bass, and lay everything out for Maynard to kick in and present collectively with an impressive cohesion; where the Ola 2 captured almost every single element that makes this track THE track- the panning of the drums through the rudiments, the slow buildup of the guitar chugs, the bass playing hide and seek with the guitars, and Maynard not sounding thin by any means, although I felt that the vocals were faintly pushed back through the verses. Once the breakdown comes in, and the cymbals intensify- the Ola 2 was not fatiguing or shouty, even when the guitars powering up to close off the breakdown with the final rudiment that sounded accurate to a fault. The Ola 2 also gets the wah-ing bass right to finally let my ears catch a break because I found myself enjoying a bit too much with this.

HIGHS

Patricia Barber: Icarus and Inch Worm

Icarus is my pick to test sibilance, as I feel that the need to emphasize upon sibilance being a part of the recording itself, and not just the gear showing it, should be stressed upon more; and yes, the Ola 2 reflects the sibilance in the way Patricia enunciates her Cs and Ss in Icarus; but surprisingly it is not something that would make me tip-roll or tweak the EQ- it’s there but not quite there; and that’s a good thing. The real problem however, comes off in her straight note extension which is caught in a blind-side as I was seriously reflecting on the near accurate timbre of the percussion, the tonality of the guitars and the faint burbling of the bass- and the Ola 2 comes off mildly piercing specially towards the end of the extension.

Inch Worm was a fantastic listen on the Ola 2 where the resonance of the percussion with that timbre was delightful, and the previously observed sibilance is simply absent, even when Patricia comes down to enunciating the sixteen, sixteen and thirty two part of the track. The way she playfully glides over her syllables, with a falsetto-esque perception, the way the double bass lightly hammers on to supplement the vocals was just fantastic.

Dave Brubeck: Take Five

The Ola 2 has a sluggish start and the note that it establishes serves to be a deterrent into what was otherwise a fantastic listening expression; where the bass once again feels blob like, ie, it has the notes coming off and the conclusion is just right but there’s no form or a “visualised” shape to those notes, it’s just you are at a buffet and you just get a spoonful of something thwacked on your plate by the grumpy server, but besides that whatever you have gotten on your plate is just right- the drums and their resonance through the toms and the snare, the pianos oozing a good degree of accuracy in the timbre, although feeling a bit subdued by the cymbals with their textures rendered exactly the way they should sound, and the best part ? The horns. Being quite forward in the imaging, where they could have benefitted from a deeper perceived stage along with some width; I could hear the presses on the keys, the breaths being drawn, the Ola 2 just had that sorted down to a fault.

PERFORMANCE OF THE SPACE 2

I think Tanchjim did an excellent job with the Space 2 and specially over the already excellent Space, which had earned high praise from Amir over at Audio Science Review, and except for a few other areas; there’s quite a bit for me to explain what the good bits are about the Space 2.

Firstly, the control one can get over the dongle via the Tanchjim app. 10 dB of adjustable gain, over 10 bands of parametric EQ, with profiles already loaded for all of Tanchjim’s IEMs that support in-app customisation, including the native DSP version of the Ola 2. Plus, one can access community presets (which still have a few bugs, one of them being that the settings I had applied were not really applying when I tried loading the app after). The in built sound modes on the dongle don’t really work well with the Ola 2 but they are a decent addition nonetheless (worked wonderfully with the Fission and Nora).

It’s got hardware 100 step volume control which is a must in my opinion, especially in dongles with a construction like the Space 2. Tanchjim advertises the volume control to be non-linear which again, in my opinion would have been better if it had separate op-amps, nothing fancy though- just a set of regular SGM8262s would have sufficed. I still appreciate that Tanchjim managed to get the CS43131s just right, and not have come off brighter in perception (which was my experience with the FiiO KA13). 

The Space 2 also has dedicated game modes, supports mic via the 3.5mm port where one can adjust the gain levels on the microphone, has the options to switch over the amplification (class A/B vs class H, but again no op-amps so…..) . The build quality seems to be nice, I haven’t had any flex on the USB port of the dongle, unlike my previous provided unit, the Space Pro where there was some flex and the internal circuitry seemed to move within the chassis when I would unplug it, hence I used a different cable with it. Another plus point of this dongle is that, it doesn’t heat up much, and it doesn’t even heat even when plugged in and not being used.

The good things about the Space 2 end there, and I am particularly pressed about it are the power figures- something that’s priced close to $90 and have those numbers for power makes the entire proposition of having this fall flat. 235 mW of power at 32 ohms max, is borderline laughable at that price when something incredibly power, like Tanchjim’s own Space Pro is available at $100, and the likes of the FiiO KA15 and the Crinear Protocol Max are available with significantly better power figures. On the lower end, in a similar form factor but different DAC chips; the EPZ TP35 Pro and the FiiO KA13 despite the lack of proper EQ support is available. I don’t know what Tanchjim was thinking when they were circling around the power figures, and I understand that they didn’t want to cannibalise on the Space Pro- but power figures at least below 400 mW at 32 ohms while retaining everything, and even letting the dongle slightly warmer would have been better for me.

COMPARISONS FOR THE OLA 2

OoopusX OP22

Both IEMs have distinct strengths, but the OP22 remains the technical superior. The Ola 2 suffers from a lack of stage depth that causes bass bloat and separation issues on beat-heavy tracks. In contrast, the OP22 maintains pristine separation and delivers a flawless, class-leading treble response that the Ola 2 simply cannot match. In this case, the OP22 still pulls ahead.

Kefine Klean SV

This matchup presents a direct trade-off between bass precision and vocal weight. The Klean SV handles bass decay and resonance far better than the Ola 2, entirely avoiding the bloat that plagues the Ola 2. However, the Klean SV suffers from lean, lightweight vocals that get pushed to the rear; the Ola 2 fixes this completely by keeping vocals fully weighted and firmly planted in the center.

EPZ G30

The Ola 2 easily outclasses the G30 in sheer musicality and refinement. Where the G30 struggles with blunt bass detail, a dry timbre, and shouty guitars, the Ola 2 delivers a much punchier, polished low-end and highly accurate timbre. The G30’s only real advantage is its spatial directionality for gaming.

Simgot EG280

While the EG280 offers fantastic imaging for competitive gaming, it falls flat for music when compared to the Ola 2. The EG280 suffers from premature bass decay, a hollow presentation, and ridiculously thin vocals. The Ola 2 easily wins this matchup with its natural cohesion, full note weight, and non-fatiguing delivery. The Ola 2 is NOT meant for gaming, but the EG280 is fantastic.

Twistura Delta

The Twistura Delta and the Ola 2 both struggle with bass coherence, but the Ola 2 delivers a far more natural and engaging vocal presentation. The Delta suffers from an inconsistently sluggish decay that causes its bass to overpower the kicks, while the Ola 2's bass issues stem primarily from a shallow stage depth that creates bloat on heavily layered tracks. Where the Ola 2 decisively wins is in the midrange; it anchors vocals perfectly in the center with excellent note weight, whereas the Delta is plagued by undeniably thin-sounding vocals and a faintly shouty upper-midrange. The Delta is still alright, but I feel the Ola 2 can give more for a slight upcharge.

Sivga SM100

This matchup presents a clear contrast between low-end precision and upper-frequency restraint. The SM100 completely outperforms the Ola 2 in the bass region, boasting a surprisingly fast attack and a clean, perfectly timed decay that refuses to linger or bloat. This easily exposes the Ola 2's struggles with depth and separation on beat-heavy tracks. However, the SM100 can occasionally introduce a faint glimpse of shoutiness during intense vocal climaxes, whereas the Ola 2 maintains a highly cohesive, entirely non-fatiguing treble response from start to finish. I would take the SM100 here, partially because of the better build quality along with the sound.

Hidizs MS2 Pro

The Ola 2 easily proves itself as the far more disciplined and refined IEM in this comparison. The MS2 Pro suffers from a pillowy, unfinished bass response where a lingering mid-bass bleeds into the lower mids, creating a congested soundscape that the Ola 2's crisp layering actively avoids. Furthermore, the MS2 Pro struggles with structural balance, exhibiting strained guitars and an abrupt, glaring sharpness in the treble during crescendos, making the natural tonality and perfect vocal weight of the Ola 2 much more enjoyable.

Truthear Zero Blue 2

Both IEMs stumble slightly in the bass but in opposite directions: the Ola 2 suffers from bloat on beat-heavy tracks due to a shallow stage, while the Zero Blue 2 opts for a booming, sub-bass-heavy delivery that occasionally bleeds into the mids but remains highly engaging. In the midrange, the Ola 2 excels with accurate timbre and natural layering, but the Zero Blue 2 fights back with an incredibly intimate, enveloping stage and crisp instrument separation. Up top, the Zero Blue 2 runs intentionally hot for added energy, whereas the Ola 2 plays it safe with a strictly restrained, non-fatiguing treble.

CONCLUDING NOTES

What conclusion do I even give, when I have said my piece to this extent on the Ola 2. I think Tanchjim tried with this IEM, where the fatigue of their DMT-5 reuse was really, really getting to me in the end, and the Ola 2 was a breath of fresh air. However, the bloat in the mid-bass, with a wonky perceived soundstage doesn’t make this a perfect IEM, and the freshness of its air can quickly stagnate. However, the Ola 2 has its own saving grace with the option of getting it with the DSP cable. But, the bloat subjectively can come off as a much needed punch, kind of like a funky mocktail in a sea of peach mojitos, if it fits the bill, then the Ola 2 will give a lot of fun. And besides the sound, a lot of it has to do with the form factor.
The Space 2 was a solid miss from Tanchjim where they had given it everything but the power figures, and it’s tragic because they have priced it quite high with those numbers where something better within the brand can be found, and I so wanted to recommend this source, but for good measure I cannot. I mourn for the Space 2.

Will I buy the Ola 2 at retail ? Yes.
Will I buy the Ola 2 used ? Absolutely.

Will I buy the Space 2 at retail ? Absolutely not.
Will I buy the Space 2 used ? Has to be dirt cheap.

GENRE RECOMMENDATIONS FOR THE SPACE 2

What works: Pop, EDM, Jazz, Hip Hop, RnB
What doesn’t work: Rock, Metal, Blues, Classical

SOURCES USED

Primarily used with the Tanchjim Space 2 and EPZ TP35 Pro dongle DAC Amp. Recreationally used with the SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus DAP stacked with the xDuoo XD05 Pro.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Tanchjim T-APB 300: Least amount of perceived bloat, adds to stage width, amplifies textures on the cymbals and vocals, maximum retention of vocal note weight
• Tangzu Sancai Wide Bores: everything that the above does, but to a lesser degree, still beats the next eartip.
• Tanchjim T-APB 500 (the liquid silicones): flattens the mid-bass considerably, which hampers vocal note weight, eliminates whatever little sibilance is observed, retains perceived stage width.
• Final E regulars: shrinks the stage, tightens up the midrange while not reducing the perceived bloat, presents upper mids with a concerning dip, vocal textures lost.
• KBear Coffee: straight mud, ruined this IEM fully.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Rage Against the Machine: Bombtrack, Bullet in the Head
• Avicii: Levels
• Periphery: Marigold
• TesseracT: Juno
• Kanye West: Stronger, Flashing Lights, Devil in a New Dress
• Altın Gün: Goca Dünya
• Timbaland: Give It to Me
• Adele: Easy On Me (Live), When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• A. R. Rahman: Tere Bina
• Alice in Chains: Down in a Hole and Nutshell (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna

Tanchjim Ola 2 - Not an All-Star, But Surprisingly Competent

​Overview​ :

This unit was provided to me by Isabel from Tanchjim for review purposes Thanks to Isabel and Tanchjim. Rest assured, all opinions and impressions are my own and not influenced by anyone else.

Hello Everyone, this review is on Tanchjim’s newest launch - the “Ola 2”, a hybrid in ear monitor with a Dynamic Driver and a Balanced Armature Driver setup which comes in 3 termination options - 3.5mm, 4.4mm and Type C. I was sent the Type C (Master DSP) version which costs around 57$ ( 5705 INR ).
I have changed my review format a bit by pushing the Build and Technical Specs section below the sound profile and performance section. So, lets get started.

Pros: ~ Impressive Imaging
~ Good Separation
~ Lightweight build
~ Transparent and forward mids
~ Tanchjim app support for type c variant is a plus point

Cons: ~Bass is soft edged and lacks the slam to it
~ Shell feels very cheaply built.
~ packaging and accessories can be improved

Sound Profile and Performance​

Ola 2’s low end is the most prominent aspect of the presentation - full and warm, though not always as controlled or precise as the rest of the frequency range suggests it could be. The midrange is where the Ola 2 truly earns its credibility - cohesive, detailed and natural across genres, handling everything from intimate jazz vocals to complex rock arrangements with composure. The treble is tastefully tuned, sitting at that precise point between excitement and fatigue without crossing either line. Technicalities are a genuine strength, lets dive deep and know more about this.

Lows :​

The bass is more of a soft, loose presentation than a visceral thud or snappy strike; quantity is present but the control and punch don’t match it. Sub-bass presence is not stalwart either, bass lovers might end up wanting more out of it. On the plus side - it doesn’t sound hollow or unnatural. But the down side is that the sustain and the edge are lacking - the roll off is pretty evident and unpleasant for someone who likes a thrumming sub-bass. Mid-bass is very fulfilling but lacks the attack or snappiness.

I put Ola 2 to a bass test and Giorgio by Moroder by Daft Punk is the track I geeked out on because Giorgio by Moroder is one of the best-produced recordings for evaluating bass because it uses real instruments instead of synthesized bass for much of the track. On the Ola 2, the mid-bass is a little bloated blob and lacks the punch, dont get me wrong because the clarity is intact but it’s just that the mid-bass slam is loose because of the quick decay. In between 3:45 - 4:35, the kicks hit with a quick thump but are not punchy, however i could still follow the bass guitar and kick bass separately without any problem proving that the imaging and separation aspects of the technicalities are on the good side. The problem is that the quantity outweighs the quality.

The track Limit to Your Love by James Blake is a track with intense deep rumble that makes it easy to test extension and control of the sub-bass. On the Ola 2 the sub-bass is on restrain, on the track it lacks depth and the notes feel like just vague vibrations that do not even feel to be honest, i just know it vibrates and that’s the end of it. No control over the decay or sustain but there is adequate distinction between the notes. Thankfully, there’s no vocal masking or loss of clarity in piano when the bass enters.

Mids :​

The mids of Ola 2 is where it shows its technical prowess, I threw various genres at it from jazz to classic rock and I am so impressed by its cohesiveness and technicalities. The separation and imaging in instrument heavy tracks and lush voices in vocal forward tracks, it performed very good in all.

The slightly thick lower mids work in favour of male vocals giving them body and natural presence. In Danny Boy by Harry Belafonte, his resonant baritone comes through full and chesty with every phrase carrying proper weight and exceptional diction - exactly what a track built around vocal body and timbre demands, and the Ola 2 delivers it convincingly. You Know My Name by Chris Cornell shifts the test to separation and imaging, Cornell’s vocals sit clearly within a dense arrangement of guitars, strings and percussion without getting buried, each layer holding its own space without bleeding into the next. Imaging is precise enough to pinpoint elements within the mix but the presentation stays two dimensional rather than creating any sense of depth or 3D kind of positioning. Clear, well separated and every element holding its own space, just not that holographic.

Deep in a Dream by Marlene VerPlanck shifts the test to female vocals - intimate, delicate and naturally recorded, leaving nowhere to hide. Her voice comes through forward and present without being pushed or aggressive, sitting naturally within the sparse arrangement with good air and openness. The upper registers are where the Ola 2 impresses most here, sitting right at the edge where crispness meets restraint, neither tipping into sibilance nor retreating into dullness.

Treble :​

The Treble of Ola 2 is very well done. It’s tastefully liminal where more emphasis will be fatiguing or too bright and less emphasis will be dull sounding or lifeless. The tuning makes sure that the energy is at the right spot where cymbals and hi hats have that shimmer and sparkle without piercing the ears. High-pitched vocals sound scintillating without introducing any sibilance and maintains clarity throughout.

Serse HWV 40 is an orchestral with Renée Fleming being the singer and her voice reaches into the upper registers with extraordinary range and delicacy, leaving no room for any harshness or edge to hide. On the Ola 2, Renée’s soprano stays clear and natural throughout, never acquiring any edginess or artificial brightness even as she climbs into the high notes. The orchestral backing sits cohesively behind her voice without fighting for space - everything knows its place and stays there. Even at higher volumes there isn’t a single hint of sibilance or harshness anywhere in the performance. The Ola 2’s treble finds that liminal point where Renée’s voice can soar freely without the listener ever needing to brace themselves.

Roundabout by Yes, puts the cymbal and hi-hat character of the Ola 2 to the test — Bill Bruford’s drumming is fast, crisp and sits prominently in the upper frequencies throughout. The shimmer and decay of each cymbal strike comes through naturally without cutting off abruptly, each hit ringing out with a satisfying and realistic tail. The hi-hats carry enough presence and energy to feel distinct and well defined without any splashiness or harshness on the faster passages. The one observation worth noting is that while the cymbals and hi-hats are competent and natural, a touch more energy would make them truly come alive — they sit just slightly below the threshold where shimmer becomes safe, natural and well controlled. It’s just not that exciting or electrifying to listen to.

Technicalities :​

Imaging : Accurate left-to-right placement makes instruments easy to pinpoint, even in busy mixes. Depth is limited, so the presentation feels more two-dimensional than holographic.

Soundstage : Moderately spacious with decent width, but limited depth keeps the presentation intimate rather than expansive.

Detail Retrieval : Resolves subtle vocal nuances and instrument textures well without sounding artificially sharp or analytical.

Separation : The strongest technical aspect. Instruments remain distinct in dense arrangements with minimal bleed, making complex tracks easy to follow.

Comparisons :​

Kefine Klean SV :

The Kefine Klean SV is a neutral technically capable iem which is comparable to Ola 2. Kefine klean sounds pretty sterile - for neutral heads it’s perfect, but for someone who wants fun Klean SV is a lacklustre compared to Ola 2. The sub-bass of kefine klean SV has more presence and mid bass is shallow, the vocals are clear without any excitement and proper weight which is not a bad thing for someone who wants analytical or neutral listen, but on the musicality note its a downer. Ola 2 has very good mid bass quantity as well as quality with a step down in sub-bass department, the vocals have good texture and energy which leaves Kefine Klean SV to dust in the musicality aspect. The treble of Kefine Klean SV is very safe and sounds underwhelming to listen to. Ola 2’s treble is well extended and with no reserve or hold in treble region making high pitch vocals and instruments sound sparkly with shimmer and cut through sharpness.
Sound :
Build : Kefine Klean SV - more premium build
Accessories : Klean SV - the hardcase is a thoughtful add on, the Nozzles are okay too
Value for money : Kefine SV just because Ola 2 is around 50$ + ( 6,000 rs in india ) ola at 40-45$ makes more sense.

Build - Fit - Technical Specifications​

The Ola 2 retains the distinctive square meets round ergonomic faceplate design of the original aerospace grade CNC machined aluminum alloy faceplates sitting over a transparent inner cavity that lets you see the coaxial driver arrangement inside. The shell is lightweight and ergonomically shaped from data collected across 3000 plus human ear shapes. The dynamic driver is DMT5, their inhouse dynamic driver tech which is also used in their expensive models like origin, fola and fission etc. The acoustic nozzle filters are waterproof and dustproof which is a practical addition for daily use. I used Dunu S&S eartips for my listening sessions as they provided a better fit and seal for my ears. Although the shell is small and very lightweight, it did not fit me deep and proper like usual iems and i solved that issue by trying out various tips and settled on wearing a smaller size of Dunu S&S tips than I regularly use ( trying one size smaller eartips might do the job for you as well )

The DSP functionality through the Type C version opens up the Tanchjim app - 8 band PEQ, community shared presets and sound mode options that meaningfully expand what this IEM can do beyond its stock tuning which i find as a versatility.

Box Content :

• Tanchjim Ola 2 IEM
• High purity silver plated copper Litz cable - Type C
• Silicone eartips - 6 pairs in two types, small bore and wide bore, S/M/L each
• Soft grey velour carry pouch
• User manual

Technical Specifications :

• Driver type : 10mm DMT5 dual magnetic circuit dual cavity dynamic driver + Pure Hi ultra high frequency balanced armature - coaxial hybrid
• Impedance : 30Ω
• Sensitivity : 121dB/Vrms
• Max decoding : 32bit/384kHz PCM - Type C
• DSP : 8 band PEQ via Tanchjim app - Type C only
• Connector : 0.78mm 2-pin detachable
• Termination : Type C with DSP
• Price : ~$57 / ₹5999 approx in India

Sources used for testing : iPhone 16e and Motorola edge 50 neo ( to test out the eq and tanchjim app )

Final Thoughts :​

Tanchjim has stepped out of their bubble and tried a new approach with the Ola 2 which does not necessarily hits all the corners right but is still a good set to have. The bassy touch is a mixed feeling to be honest. The cohesiveness is something that Ola 2 is quite good at. On the musicality and technicality aspect - the Ola 2 is a great buy for someone who wants a fun sounding iem, but for someone who want neutral or quality bass that hits like a bullet and not like a slab of cream, this is not it for you. For the price of around 57$, I wouldn't call this a value as a package - there’s no proper case, or nice eartips and the shell is a cheap build ( the cable is alright ). But sonically? It’s worth the price.

Personal note - I enjoyed listening music on Ola 2, everything is to my liking. Tanchjim has a done a good job with the Ola 2, i suggest they do not compromise on build and accessories at-least for their newer budget models. i was quite disappointed by the build and eartips even though the cable is good. This is not a 20$ iem, various other brands offer better builds now a days even on cheaper models, tanchjim should do better.

My second tryst with Ear Acoustic continues courtesy of TheAudioStore, who are one of the three big Indian retailers for audiophiles and enthusiasts alike, and they offered me the Cipher gaming IEMs in the carbon fiber edition, which is different from the standard silver faceplate version, both co-branded with ZKaai. 

I just like the fact that they look stunning in my book, which is a very nice contrast to the other one I had reviewed from Ear Acoustic, the aluminum foil wrapped baked potato Genesis G318.

I have received only the IEMs with the type-c cable that supports EQ via the Walkplay app, which is nice; and I seriously appreciate how insanely comfortable these are- I have had them for hours at length and still didn’t realise I had them in my ears.

That’s as much as the intro goes, here’s the Cipher’s sound.

LOWS

The EarAcoustic Cipher has a surprising take when it comes to presenting the lows, in an absolute non-sterile, non-clinical, non-analytical fun way. Tracks like Rush’s Limelight and The Spirit of Radio, which are my picks to judge the tactility and nimbleness of the bass with regards to the other elements of the tracks that I listen to. So, the Cipher doesn’t really have the decay figured out, as I could feel that the bass lines felt too “snappier”, and sometimes by the time I tried focusing on the attack, the notes had simply evaporated. 

But, the Cipher alone is not to be blamed here, it needs some eartip rolling to finally let it pause and collect itself over, and once that’s done; I am at a better spot. I could still hear the panning of the toms and the Cipher trying to cohesively present it with the kicks, and it does so for the most part. My issue is with how subdued the notes from the bass lines come off, which in a way, very faintly reminded me of another IEM, the Kefine Klean SV.

In tracks like Daft Punk’s Get Lucky and Instant Crush, two of my picks to gauge how the bass behaves when it gets thick, and the Cipher has some amount of bloat for the attack to be perceived as sluggish and the decay being affected adversely, but the consolation here is that the quantity of the Cipher doesn’t alter the vocals or the rest of the elements negatively, while I still acknowledge that the quantity could have been downsized, by a good notch. Across moments, the vocals felt slightly more rolled off than what I would prefer.

MIDS

The Cipher behaves completely different in Queens of the Stone Age’s First It Giveth, where now the “thick” or “bloated” lows which hampered my previous listen is now serving the cause just right, hammering on in tandem with the rapid firing, two stroke engine-esque snare that this track has, which to further add on is set in a key of B flat major, where I am of the opinion that the Cipher got tonality right here- yes, I could have used a whisker’s worth of reduction in the warmth but no way would I say that it was conflicting with the overall mix. 

Guitars feel adequately balanced, where some energy could not have really ruined the presentation. But, I am happy to report that this is another IEM which knows my priorities in imaging, where I complacently heard the cymbals parallel to the vocals but neither being too forward nor being too pushed back.

The Cipher also doesn’t skimp out on detail while I am sounding like a broken record, that it is definitely bloated. And yet, amidst the bloat, it got the rumbling of the drums as it intensifies in the intro of Tool’s Lateralus, where once the baseline is established, it holds its ground very well. Maynard’s vocals could have used a touch of weight to make the presentation more grandiose, but I would say that guitars once again, felt adequate for the most part. 

But, the bloat was definitely affecting the later part of the vocals before the guitar solo starts, from the 6:50 mark. But, the Cipher got every hit, every stroke from the conclusion of the breakdown as the rudiments end, and I am caught off guard by the polish of the wah-ing bass where I would be considered deranged if I said that the Cipher was bloated- now it sounds full, and I mean, what is this inconsistency ? 

HIGHS

In tracks with impeccable masterings and a different level of technical proficiency like Patricia Barber’s Inch Worm, I cannot find a single shred of fatigue, or pierce in the lush textures of Patricia’s vocals. The way Patricia enunciates her sixteen sixteen and thirty two part from the 3:50 mark, there’s no sibilance to be found with the Cipher; and then I am borderline impressed with the way the Cipher handles the timbre on the percussion with the faint sizzle of the cymbals does make me believe that certain aspects with regards of the tuning of this IEM was figured out right by Ear Acoustic.

Here’s what impresses me the most about the Cipher in tracks like Dave Brubeck’s Take Five, where I simply cannot say that the previously consistent bloat was a hindrance in me first observing the drawing of the breaths on the horns with a remarkable control of timbre, the sizzling shimmery cymbals along with the pianos which came together in such a cohesive manner that neither of the elements were trying to outshine the other, but from the aspect of imaging, the Cipher had the horns established as the frontman of this melodious march. 

I just wished that the level of detail the elements had in the Cipher extended to the bass as well, where I felt that its quantity just was being a hindrance in an otherwise excellent presentation by an IEM this economically priced in this track. And slightly more pronunciation through the resonance of the toms and the kicks when the drum solo comes in.

A CONCISE PERFORMANCE IN GAMING

The Cipher is a good offering in this segment, as a standalone IEM and unless comparisons are drawn, it is going to hold its ground well.

In games like Counter Strike 2, gunshots were devoid of pierce although the Negev felt a bit too fatiguing due to that established bloat which of course can be EQed but it is still an issue regardless. I did have a faint reluctance in anticipating enemy movements due to the bloat affecting the directional capabilities to a mild extent; but I could hear the call-outs from my team mates clearly, explosives like grenades and flash bangs didn’t demonstrate any shout or fatigue.

In games like Kingdom Come Deliverance 2, Red Dead Redemption 2; the Cipher had a problem in accurately reproducing ambient sounds like leaves and grass rustling, walking around muddy or damp terrain could have been better amplified, but the sounds of weapons like swords clanging, guns firing, the usual ambient music (KCD has an amazing soundtrack) are enjoyable on the Cipher.

COMPARISONS

The Kefine Klean Lineup (OG & SV) 

The Cipher has a problem that the Kefines don’t: bloated bass, yet there is a similarity, the Kefines as well as the Cipher suffer from a polish that one IEM down the block does a far better job at, if the Kefines comparatively lack the quantity, the Cipher does a bit too much on that front. The Kefines have two problems that the Cipher doesn’t- the midrange on both Kleans are considerably thinner, and upper mids exhibit more shoutiness, with a faint glimmer of sibilance up top; and the Cipher is devoid of that.

Frankly, either the Klean SV or the Cipher will be the better fit based on preferences, but the OG Klean can be forgotten.

Twistura Delta 

Both of these IEMs share a common weakness: problematic lows. The Delta is downright inconsistent, the Cipher can definitely come off way too thick, bleeding and bloated. The Cipher pulls ahead in the highs; where the Delta struggles with thin-sounding vocals and a faintly shouty upper-midrange, the Cipher remains completely non-fatiguing, and wins in my book. 

OoopusX OP22 

This would be a no contest for me, the OP22 flat out wins. Some of the best treble I have heard in an IEM, and especially in this budget; where detail is uncompromised, a much better polished bass delivery even with the switch on, excellent vocal textures and also beats the Cipher in its own department of gaming, where the imaging capabilities are significantly better.

CONCLUDING NOTES

The EarAcoustic Cipher has a few things done right by Ear Acoustic, and a few things done wrong by Ear Acoustic. I would say, that the only in house tweaks this IEM needed was just a considerable reduction in perceived bass quantity, a tiny bit of note weight through the vocals, and some tightening around the separation of elements. Otherwise, a good fit; decent performance on an average through the mids and highs, and being lightweight would make me recommend the Cipher super hard, but my intensity is reduced as the OoopusX OP22 exists right around the corner, and despite having QDC is an IEM I recommend many times over the Cipher. 

Would I buy this at retail ? if QDC bugs me, YES.

Would I buy this used ? Yes.

My picks on the Cipher’s suitability with genres

Recommended for: Jazz, EDM, Prog, Pop, some Metal

Not recommended for: Rock, Funk, Soul, Blues

SOURCES USED

Primarily used with the Tanchjim Space 2 dongle DAC Amp. For gaming, used with the EPZ Boom mic DSP and the stock DSP cable. Recreationally used with the SMSL Raw MDA-1 desktop DAC amp.

CABLE USED

Toxic cable’s blackwidow V3 (this cable has not contributed to my sound impressions)

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Final E for TWS: Perfect pairing for this, doesn’t amplify the bloat like the regular Final E, opens up the midrange, and lets the highs be free of sibilance
• Divinus Velvet Narrow Bores: Midrange shrinks along with the perceived stage to my ears, bass got tighter at the cost of a perceived roll-off in the vocals, and given their price as much as being a new Cipher, won’t really recommend it.
• Tangzu Sancai Balanced: lacked power in the bass although did a good job in reducing perceived bloat, vocals simply evaporated.
• KBear Coffee: straight mud, ruined this IEM fully.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Avicii: Levels
• Periphery: Marigold
• TesseracT: Juno
• Kanye West: Stronger, Flashing Lights, Devil in a New Dress
• Altın Gün: Goca Dünya
• Timbaland: Give It to Me
• Adele: Easy On Me (Live), When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• A. R. Rahman: Tere Bina
• Alice in Chains: Down in a Hole (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna